Joseph (Peter Mullan) is an unemployed widower with a drinking problem, a man crippled by his own volatile temperament and furious anger. Hannah (Olivia Colman) is a Christian worker at a charity shop, a respectable woman who seems… MoreJoseph (Peter Mullan) is an unemployed widower with a drinking problem, a man crippled by his own volatile temperament and furious anger. Hannah (Olivia Colman) is a Christian worker at a charity shop, a respectable woman who seems wholesome and happy. When circumstance brings the pair together, Hannah appears as Joseph's guardian angel, tempering his fury and offering him warmth, kindness and acceptance. As their relationship develops, Hannah's own secrets are revealed - her husband (Eddie Marsan) is violent and abusive - and Joseph emerges as her unlikely savior. With striking performances and a deeply felt story, actor-turned-writer/director Paddy Considine's film is a stunning debut about the emergence of grace and redemption from the least likely of places. -- (C) Strand Releasing

If the script ultimately seems a bit extreme (are there no immediate consequences for Joseph's tantrums or the criminal outbursts of Hannah's abusive husband?), it's often surprisingly successful in pushing the limits of British kitchen-sink drama.

Paddy Considine's first feature as writer-director comes off like a playwriting exercise, with familiar characters taking every opportunity to wage messy, cathartic arguments or exhume traumatic memories.

'Tyrannosaur'. Two destructive personalities?one less inwardly so than the other, but to far greater consequences?find some semblance of peace through… More'Tyrannosaur'. Two destructive personalities?one less inwardly so than the other, but to far greater consequences?find some semblance of peace through each other.
Fine performances from both leads, and great little moments of humour to break up the bleak tone of the film, especially the explanation of the name, 'Tyrannosaur'!
A day later, in retrospect, I do question whether Joseph's violently destructive motivations and character were sufficiently conveyed to the viewer. Did I miss something, or did he get this way just because [and I don't mean this lightly] he lost his wife? If so, the message seems to be about glamourising rage in Joseph's case, for no real just cause, whereas at least Hannah garnered some level of sympathy and was almost driven to it.

Mark Walker

Paddy Considine made a name for himself with dynamic performances in director Shane Meadows' British, working-class drama's "A Room For Romeo… MorePaddy Considine made a name for himself with dynamic performances in director Shane Meadows' British, working-class drama's "A Room For Romeo Brass" and "Dead Man's Shoes". Those were two great films that benefited from his intense input. Now, as a director himself, he makes his debut behind the camera and adds another fine addition to the realism and style he's accustomed to acting in.
Joseph (Peter Mullan) is a widower living on a housing estate and prone to fits of uncontrollable rage. One day, in a charity shop, he meets devout Christian, Hannah (Olivia Colman), who offers to pray for him. Hannah has her own problems at home though, as she is being physically and emotionally abused by her husband James (Eddie Marsan). Joseph offers to help her, in return for her kindness, and allows her to take refuge with him but the consequences of violence still linger despite the chance of redemption.
When British cinema is afforded the best of it's talents, it can deliver some very hard-hitting drama's. This can be included amongst the finest of recent years, or any year for that matter. It's raw, emotional storytelling, anchored by excellent central performances; Peter Mullan has rarely been better as a damaged and brutal man, full of inner rage and Eddie Marsan is perfect as an abusive and cowardly creep. It's Olivia Colman - who's better known from the Simon Pegg/Nick Frost TV comedy show "Spaced" - that's the real revelation though. She is absolutely superb. Going on this evidence, Colman thoroughly deserves more dramatic roles in future. It's quite simply, one of the finest female performances from 2011. Speaking of which, could somebody please explain why this was, yet another, quality drama with searing performances, that was omitted when the Academy awards were being dished out? Proof, yet again, that films of this type are so often overlooked across the pond. Thankfully though, Considine and Colman recieved Bafta's for their outstanding work. Having already proved his writing potential with "Dead Man Shoe's" this is another powerful drama that augers very well for Considine's writing and directing future. If he continues to deliver work like this, he can consider himself amongst the great UK auteurs like Ken Loach and Mike Leigh.
A stark and depressingly ferocious film that also has heart and a real sense of hope. Like most films of this type, it can be difficult viewing but also worth it. British, working-class "Kitchen-sink" drama's have rarely been better.

Liam Gadd

Paddy Considine's first feature film is an incredibly raw and riveting piece of cinema. Peter Mullan, Olivia Colman and Eddie Marsan give superb… MorePaddy Considine's first feature film is an incredibly raw and riveting piece of cinema. Peter Mullan, Olivia Colman and Eddie Marsan give superb performances. Colman in particular, is heartbreaking as a very troubled woman. ''Tyrannosaur'' deals with themes like redemption in a brutal way, but it manages to warm your heart by the end. It's a touching story, though a tough one too. It's a very strong multiple character study.

Matthew Slaven

The shocking, gut-wrenching first 60 seconds continues on through the end. What makes it bearable to watch is that all of the aggressors are just as horrified… MoreThe shocking, gut-wrenching first 60 seconds continues on through the end. What makes it bearable to watch is that all of the aggressors are just as horrified by their own actions. There is no redemption found here, just a coping self-awareness of the controllable contributing factors.

Cameron Sherwell

Originally designed as a short, I can't help but feel it would of been better that way. The feature length 88minutes (although still short) begins to feel… MoreOriginally designed as a short, I can't help but feel it would of been better that way. The feature length 88minutes (although still short) begins to feel irksome. The performances were good and the script was an interesting, very subtle idea, but it could only go so far before I felt as if I stopped caring for the unlikeable, miserabalist characters.
As most films of this genre have the cinematography was designed to feel realistic and increase the feeling of verisimilitude, it felt a bit like 'Snowtown' in that sense, but not as well done. 'Tyrannosaur' does have some interesting things to say but at some points you will just want it to shut up.

Daniel Mumby

One of the most special things that can happen to a film fan is to be completely side-swiped by a film that we expected little of or knew nothing about. Most of… MoreOne of the most special things that can happen to a film fan is to be completely side-swiped by a film that we expected little of or knew nothing about. Most of the time the surprise is a pleasant one, the kind of surprise that comes from finding a funny comedy or a good action movie that no-one else has seen. But with Tyrannosaur, the debut film from actor Paddy Considine, the experience is much more harrowing, leaving you nothing short of completely raw.
The obvious and rather trite thing to do at this point would be to draw up Alfred Hitchcock's old quote that actors should be treated like cattle, issue a half-hearted warning about the perils of actors getting behind the camera, and then patronise Considine for having done so well. But the fact is that he has really done his homework, having learned much from his collaborations with Shane Meadows. If one had to draw a comparison, it is probably closest to Dead Man's Shoes in its brutal violence and unconventional depiction of revenge. But Tyrannosaur is more than Shane Meadows-lite: it stands like its main character, alone and deeply terrifying.
When Roger Ebert reviewed the film, he remarked that "this isn't the kind of movie that even has hope enough to contain a message. There is no message, only the reality of these wounded personalities." He couldn't have put it better. Tyrannosaur is a film which draws no quarter, offering no answers, let alone easy ones, to the problems faced by its characters or the society that produced them. Hope, optimism, sentimentality, generic conviction - any way out is refused, dismissed as impossible and out of reach. Even calling it nihilistic feels too straightforward.
Tyrannosaur is something of a rarity in today's filmmaking culture: the product of someone doggedly determined to do it their way. Just as the characters do not resolve their problems with a feel-good ending, or laugh them off with a smile, so you get the sense of Considine really putting his foot down at every stage of production, resisting the urge to bow to commercial pressure or retreat to the comfort zone of convention. At a time when films are increasingly not just written but directed by committee, his determination is commendable even before we examine the film artistically.
The film is completely unapologetic in its realistic depiction of violence. The carnage on show is not the balletic bloodbaths of Sam Peckinpah or high-end comic book films like Kick-Ass. Instead it is as real and as horrible as Kill List, earning its 18 certificate in the first five minutes. At certain moments, such as the killing of dogs at either end of the film, the camera turns away, mirroring our flinching and repulsion at what unfolds. By starting with something so horrible, we are forced to confront these characters and their problems head on, with no safety net and no way out.
Tyrannosaur is a film about three deeply damaged people, all searching for a form of release or redemption while feeling all the time that they are either unworthy of it, unable to attain it, or alienated by what society expects of reformed characters. Joseph (Peter Mullan) is desperate to get out of his spiral of self-destructive rage, but is so far gone that he increasingly knows no other way to live. He picks fights with the boys in the pub, kicks his dog and bashes his shed because he is at a loss of what else to do.
Hannah (Olivia Colman) is a kind and compassionate woman who is assaulted and abused by her husband James (Eddie Marsan). He protests that the way he reacts isn't the real him, and yet his jealousy and possessiveness manifest themselves in horrendous ways, from urinating on her while she sleeps to beating her up and raping her. Hannah struggles to reconcile her faith to the harsh realities of her life - there is nothing cosy in her position as a Christian.
What makes Tyrannosaur so rewarding is that it keeps wrong-footing us. It doesn't do this in the manner of Super, which kept serving up misjudged or awkward moments on account of not knowing what it really was. But its choice of character developments throw us off the scent, reinforcing the film's desire to reflect life as it is rather than offer hope of how it should be. Our two main characters don't end up together, or take the young boy into their care. The film is closest to The Arbor in its reams of ambiguity, as we are left wondering how well the characters really knew each other, or how much they even cared for each other.
It is also refreshing to see religion, and more specifically religious faith, depicted in a manner which is utterly free of caricature. Perhaps no British film since Whistle Down the Wind has approached the issue of personal belief with such a steady hand, resisting the urge either to unconditionally accept it or, more commonly, dismiss it as empty, irrational or a waste of time.
The film depicts how hard it is to be a Christian without falling into the trap of many modern Christians, who foolishly claim to being persecuted in 'their own country'. Hannah is by no means perfect, being just as capable of violent outbursts as Joseph is. She is only in control when James is not around to torment her, and while she feels drawn to helping Joseph it is never clear how comfortable she is being around him. Joseph may start and remain a cynic - there is no moment on the road to Damascus for him. But the release of emotion in the charity shop, and his kindness towards Hannah, suggests some kind of spiritual impulse, even if he refuses to acknowledge it.
In hindsight it was good that Tyrannosaur was helmed by someone with acting experience, because the film depends so strongly on the three main characters being completely believable. And Considine delivers on all three, directing with passion and integrity. Peter Mullan is great, possessing so much texture and nuance in his face and managing to appear threatening without simply making us run for cover. His is a compelling threat, and we are drawn to it like moths to a flame.
Eddie Marsan is rapidly corning the market in threatening supporting roles, turning in a performance up there with his menacing turn in Philip Ridley's Heartless or his neurotic driving instructor in Mike Leigh's Happy-Go-Lucky. Most striking, however, is Olivia Colman, who is quite simply a revelation. Having gotten used to seeing her in mother hen-type roles in shows like Peep Show and Green Wing, we are completely unprepared for the emotional range and depth of this performance. At the very least she doesn't just let the make-up do the acting for her in the difficult scenes: she is constantly working hard and deserves every accolade she has received.
Considine's direction in Tyrannosaur feels meticulous without being overbearing. He has made clear in several interviews that the film is in no way autobiographical, and it makes sense therefore for the film to lack a particular visual stamp in the way that Meadows' works might. The film still looks amazing, with gritty cinematography from Submarine's Erik Wilson and very good compositions on the part of Considine. But running through everything is a resistance to design: the camera is there to observe, not to judge or create an impression of reality.
Tyrannosaur is a gripping and gut-wrenching debut, and one of the best films of 2011. Its completely lack of visual or narrative compromise will be a test of viewers' mettle, but like Kill List it earns the right to be this brutal, being horrible and repulsive in all the right ways and for all the right reasons. Considine has the makings of a great actors' director, creating three compelling characters within a genuine piece of cinema. It is an extraordinary first feature film which lingers long after its final frame.

Walter M.

Written and directed by Paddy Considine, "Tyrannosaur" starts with Joseph(Peter Mullan) out on another bender, except this time, without thinking, he… MoreWritten and directed by Paddy Considine, "Tyrannosaur" starts with Joseph(Peter Mullan) out on another bender, except this time, without thinking, he kicks his dog who dies shortly thereafter. He buries him in his yard next to the shed where he resides, long after his late wife had banished him there. On another afternoon, he goes drinking again, gets into a fight and ends up in the fetal position in a thrift store where Hannah(Olivia Colman), the store clerk, prays for him. At the end of the day, she has a glass of wine while waiting for her husband James(Eddie Marsan) to come home. When he does, she is asleep on the couch. After attempting to wake her, he urinates on her before going upstairs.
There are fewer higher cinematic pleasures than watching Peter Mullan, one of the best actors around, fully inhabit a character like Joseph, who is simultaneously reckless, unhinged and complex. And Eddie Marsan who has played his share of villains finds a new direction for the one he plays here. On the other hand, "Tyrannosaur" cannot be considered fun in any sense of the word as it contains all manner of abuses to humans, animals and other sentient life forms. But there are more subtle forms of behavior that are just as dehumanizing which is how the title comes into play. While there is just a sliver of hope presented in places, the movie is not exactly kind towards religion but we take no comfort in the revelations of Hannah's domestic life. There is a twist at the end which does little harm to the movie and does make sense. Anything that it robs from the movie says more about us than anything else here.

Cynthia S.

Absolutely NOT for the faint of heart (or children, for that matter). Be warned - for those who rely on the US Motion Picture Rating scale to prepare them for a… MoreAbsolutely NOT for the faint of heart (or children, for that matter). Be warned - for those who rely on the US Motion Picture Rating scale to prepare them for a film - this is a clear "R" for language, violence, and adult themes. This movie goes way beyond dark, and gritty. Opening scene: angry drunk walks out of a bar and takes out his frustrations on his dog..badly. The rest of the story is just as about as pleasant. However, it is so well done that it's really hard to judge how you feel about it all by the end...

Bruce Bruce

This is definitely a film festival type movie, starts off slow but after about 30 minutes your into this story of a man who has a bad temper and drinking… MoreThis is definitely a film festival type movie, starts off slow but after about 30 minutes your into this story of a man who has a bad temper and drinking problem, who gets involved with a Christian women far from his initial desires, she is an abused wife, he tries to help her while she is helping him, a twist in the end, worth 4 stars

Carlos Magalh„es

The two main characters are downright unbearable and it is irritating to see how they are so pathetic and self-destructive dealing with their conflicts.… MoreThe two main characters are downright unbearable and it is irritating to see how they are so pathetic and self-destructive dealing with their conflicts. Besides, the film wants to shock the audience to create pathos, when clearly it has no direction and apparently nothing to say.

The Movie Waffler

With his directorial debut, Considine seems to have invented a new genre - the "Northern". Like all great westerns the protagonist here is an antihero… MoreWith his directorial debut, Considine seems to have invented a new genre - the "Northern". Like all great westerns the protagonist here is an antihero with a violent past. The dust and heat of the American West however are replaced with the smog and rain of Northern England.
When we first meet Mullan's bitter angry Scot he is kicking his dog to death. This is followed up with a scene of him racially abusing Post Office staff before bricking their window. Amazingly, an hour of screen time later and we're rooting for him. After hiding out in Colman's charity shop to avoid a beating, he reluctantly becomes involved in her life and discovers she is the victim of domestic violence at the hands of her husband Marsan. Their relationship is established brilliantly with Marsan urinating over Colman as she pretends to sleep. The next morning they small-talk like an everyday couple while Colman struggles to get the urine stains out of their couch.
Everytime you think this film is headed in a cliched direction it takes a sudden shocking detour. Compare this to a similarly themed film like "Gran Torino" and you'll see how easily it could have ended in mediocrity.
The acting in this is superb, Mullan is perfectly cast as the sort of guy we cross the road to avoid, Colman plays her victimised wife brilliantly, it's impossible not to want her to get revenge. Ned Dennehy is an Irish guy whose entire career has been spent playing odd looking bit parts. Here he gets a meaty supporting part as a pathetic yet likable acquaintance of Mullan.
In 1997 Gary Oldman made the brilliant and similar "Nil By Mouth" but sadly hasn't directed anything since. Hopefully Considine won't wait so long.